#the interdependency trilogy

[darling-child-tisarwat]

Characters in SFF that have Tranmasc Swag but aren’t actually Transmasc:

Gideon Nav

Muire Lo

Marce Claremont

Dlique

Ianthe

Characters in SFF who ARE Transmasc but have no Transmasc Swag:

Rhezny Brezan

Ianthe (Naberius)

[wilwheaton]

On Reddit, someone asked me what some of my favorite audiobook narrations were. We were talking about John Scalzi, so my answer focuses on that.

Since it's already formatted and everything...

I love everything I've done for Scalzi, but I especially loved doing Red Shirts and Starter Villain. If you want a series, the Interdependency trilogy has my favorite character of his across three books. And I am compelled to mention my own narration of my memoir, Still Just A Geek, if you want to know more about who and how and why I am. Finally, I have a bandcamp where I've put up some of my indie work. You can pay what you want, even the low low price of zero, for everything there.

[jasminewalkerauthor]

Trope chats: the core trio

The "core trio" is one of the most recognizable and enduring character group dynamics in fiction, frequently seen across genres ranging from fantasy and science fiction to coming-of-age stories and adventure novels. This trope revolves around three characters who form a central team, often embodying complementary skills, personalities, and perspectives. The core trio offers a flexible structure for storytelling, allowing for a balance of conflict, cooperation, and character development. It also serves as a microcosm of social dynamics, symbolizing friendship, diversity of thought, and the idea that different strengths are necessary to achieve common goals. However, the trope also comes with narrative risks, such as predictability, over-reliance on established archetypes, and the potential for underdeveloping one or more characters.

This essay will explore the core trio trope as a literary device, examine its common pitfalls, delve into its societal influence, and outline the typical archetypes that tend to form this dynamic.

The primary strength of the core trio lies in its ability to create balance within a narrative. By distributing different traits and abilities among the three characters, the trio often becomes stronger as a unit than as individuals. For example, in J.K. Rowling's Harry Potter series, the trio of Harry, Hermione, and Ron exemplifies this dynamic. Harry is brave but often impulsive, Hermione is the intellectual and planner, while Ron provides emotional support and loyalty. Their different strengths are essential to overcoming the challenges they face, and the trio dynamic allows for varied interactions and conflicts that drive the plot forward.

In terms of storytelling, this balance provides flexibility. Each character in the trio can take turns leading, depending on the situation. For example, Hermione's intelligence saves the group in academic or puzzle-based challenges, while Harry's bravery leads them through dangerous confrontations. Ron’s emotional insight often helps resolve interpersonal tensions or find the human element in complex situations. This variety prevents the narrative from becoming monotonous or overly reliant on a single protagonist, enriching both plot progression and character development.

Furthermore, the trio allows for a more layered exploration of themes, as the characters can embody different facets of a central idea or thematic question. In The Hunger Games, the core trio of Katniss, Peeta, and Gale explores themes of survival, sacrifice, and resistance, with each character offering a different perspective on how to navigate the dystopian world they inhabit. Katniss represents a pragmatic, survival-oriented outlook; Peeta brings empathy and a moral compass; Gale embodies a more revolutionary, aggressive approach. The tension and interaction between these perspectives create depth and complexity in the narrative's exploration of rebellion and justice.

Another major use of the core trio trope is that it serves as a microcosm for social groups or even society as a whole. The diversity within the trio often represents a broader spectrum of human experience, allowing authors to explore questions about unity, difference, and teamwork. Trilogies like J.R.R. Tolkien’s The Lord of the Rings and Rick Riordan’s Percy Jackson series use their core trios to symbolize the idea that collective strength arises from diversity—whether it's diversity of thought, background, or capability.

In many instances, the trio dynamic underscores the idea that no one individual can succeed alone, highlighting the importance of collaboration and interdependence. This is a particularly valuable theme in genres such as fantasy or science fiction, where the trio often faces larger-than-life challenges. In such stories, the unity of the trio becomes a metaphor for societal cooperation, with the group’s success symbolizing how different kinds of people, ideas, or skills are needed to face complex or insurmountable odds.

The core trio often draws from a set of common archetypes, which serve to maximize the contrast between the characters’ personalities and roles. While these archetypes vary depending on the genre, certain patterns recur in many of the most iconic trios. Below are some of the most frequent archetypes found within core trios.

The leader or hero archetype typically holds the spotlight and is central to the story's main conflict or journey. This character is often the most proactive, tasked with making the major decisions, and carries the weight of responsibility for the group. Examples include Harry Potter (Harry Potter), Frodo Baggins (The Lord of the Rings), and Katniss Everdeen (The Hunger Games).

The hero tends to be morally complex or flawed in some way, as this helps humanize their character. Harry struggles with feelings of inadequacy and destiny, Frodo is weighed down by the burden of the One Ring, and Katniss wrestles with her role as a symbol of rebellion. While they are the focal point of their respective narratives, they often rely on the support of their companions to navigate the emotional and physical challenges they face.

The intellectual or strategist is the problem solver of the trio, typically using logic, reason, and knowledge to overcome obstacles. This character’s main role is to think ahead, analyze situations, and provide the brains behind the trio’s operations. Hermione Granger (Harry Potter) and Annabeth Chase (Percy Jackson) are archetypal examples of this type. Both characters are known for their intelligence and resourcefulness, often formulating plans that keep their companions out of danger.

The intellectual can also be more emotionally detached or socially awkward, often contrasting with the more action-oriented or emotionally-driven members of the trio. This dynamic creates tension but also emphasizes the value of diverse approaches to problem-solving, reinforcing the theme of collaboration.

The third archetype typically fulfills the role of "the heart" or the emotional anchor of the group. This character offers loyalty, emotional support, and a grounding force to balance out the more extreme traits of the leader and the intellectual. Ron Weasley (Harry Potter), Samwise Gamgee (The Lord of the Rings), and Simon Lewis (The Mortal Instruments) all serve as emotional anchors in their respective trios.

This character also often provides comic relief, softening the tension in difficult situations. Though they may initially seem less crucial to the group’s success, their emotional resilience and loyalty often become central in moments of crisis, demonstrating that heart and emotional intelligence are just as important as bravery or intellect.

These archetypes—leader, intellectual, and heart—allow for a complementary distribution of skills and personality traits, creating narrative balance and giving each character distinct strengths. While these archetypes are common, effective trios typically subvert or deepen them over time, adding complexity to the relationships and individual arcs.

One of the major pitfalls of the core trio trope is predictability. Because this structure is so prevalent in fiction, audiences may come to expect certain roles and dynamics within a trio, which can lead to a lack of narrative tension or surprise. For example, if readers know that one member of the trio is the "leader" and another is the "heart," they may anticipate the ways in which these characters will interact or solve problems, diminishing the emotional impact of the story.

Additionally, trios can sometimes fall into the trap of stereotyping, especially when archetypes are rigidly adhered to without room for development or subversion. For instance, the "intellectual" character might be reduced to a walking encyclopedia, with little emotional depth, while the "heart" character is relegated to comic relief without meaningful contribution to the plot. This flattening of characters can make them feel more like plot devices than fully realized individuals.

A related issue is the potential for unequal character development within the trio. Oftentimes, one or two characters receive the majority of the narrative focus, while the third is left underdeveloped. This is particularly common when one character, typically the "leader," dominates the story. For example, in some interpretations of The Hunger Games, critics have pointed out that Gale is often sidelined in favor of Katniss and Peeta’s emotional arc, making him feel less integral to the core trio, despite his thematic importance.

If the trio becomes imbalanced in terms of development, it can weaken the group dynamic and lead to a lopsided narrative, where certain characters feel more like sidekicks than equals. The challenge for authors is to ensure that each member of the trio is given sufficient depth and agency, so that their contributions feel equally valuable.

Another potential pitfall is over-reliance on the group dynamic, which can limit individual character growth. When a trio is defined primarily by how the characters relate to each other, their personal arcs may suffer. The characters become so intertwined in their roles within the group that they fail to develop independently. This issue is common in long-running series, where the trio becomes a narrative crutch, leading to repetitive group interactions and limiting the possibility for solo character arcs.

For example, in some long-running television series, the core trio remains static in their relationship to one another, even as the plot moves forward. The lack of individual growth can make the trio feel stagnant and unchallenged, reducing the emotional stakes of the story.

The core trio trope often reflects broader societal structures, particularly around the themes of collaboration, diversity, and unity. The trio dynamic frequently symbolizes the idea that different perspectives and skills are necessary to achieve success, offering a counterpoint to narratives that glorify the lone hero. This reflects a societal shift toward valuing teamwork and interdependence over individualism, mirroring real-world trends in workplaces, education, and social groups, where collaborative efforts are increasingly prized.

The trio's emphasis on unity through diversity also has a social resonance, particularly in contemporary fiction that seeks to challenge monolithic or exclusionary representations of heroism. Diverse trios, whether through differences in gender, race, or background, embody the idea that strength comes from multiple viewpoints. In this way, the core trio trope can challenge societal norms around leadership, heroism, and cooperation, offering a model for how communities can work together despite differences.

The trio often functions as a symbolic representation of balance and harmony. In many narratives, the trio must learn to align their strengths and weaknesses to achieve their goals, symbolizing the broader idea that balance—between intellect, emotion, and action, or between differing worldviews—is key to success. This idea is particularly common in fantasy or adventure genres, where the trio’s journey often involves learning to reconcile their differences to overcome a larger, external threat.

In stories where the trio fails or fractures, this breakdown often symbolizes larger societal or moral failures. For example, in stories like The Dark Knight Rises, where the trio of Bruce Wayne, Alfred, and Commissioner Gordon temporarily splinters, this schism represents broader thematic concerns around trust, loyalty, and the challenges of maintaining integrity in a corrupt world.

The core trio trope is a versatile and powerful tool in fiction, providing a narrative structure that balances character dynamics, explores diverse perspectives, and offers a microcosm of societal cooperation. By distributing strengths and weaknesses among three distinct archetypes—such as the leader, intellectual, and heart—the trio can reflect themes of teamwork, diversity, and unity. However, this trope also comes with challenges, including predictability, unequal character development, and the potential for over-reliance on group dynamics.

In terms of societal influence, the core trio often mirrors collective ideals around collaboration and balance, emphasizing the value of different strengths working together toward a common goal. When used thoughtfully, the core trio trope not only enhances the storytelling experience but also offers symbolic commentary on the importance of diversity, unity, and mutual support in overcoming life’s challenges.

[shesasurvivor]

What's your favorite character from The Hunger Games trilogy?

Why do you like this character?

Favorite quote or moment from them?

Please state one (or more) thing which you don't like from them.

Thank you 😊

@curiousnonny

Anyone who's followed me long enough can tell you: the Girl on Fire herself, Katniss Everdeen! Katniss is deeply important to me (though I feel it's important to clarify that it's book Katniss I love, and not movie Katniss. They're not the same character.) I'm a lot like Katniss at my core, and I read her story at a pivotal point in my life where her story was exactly what I needed in order to figure out how to go on. I'd experienced a traumatic two years that included watching my own sister slowly fade away until her cancer did her in. PTSD was setting in, and I already had a tendency to suppress my emotions as a coping mechanism from actually being a sensitive individual. The lessons Katniss learned about interdependence and allowing herself to love more than just one person that felt safe were lessons I needed to learn, too.

Katniss has a lot of moments I love, but the most personal for me is the moment the bombs go off, and Katniss has that scene with the "birds" that are all the people she knows who have died. When the loss of my sister was still fresh, I would read that scene and it would be the only thing that would bring out the heavy tears I was otherwise still too emotionally frozen to cry out on my own.

As for what I don't like, well, honestly Katniss has a ton of flaws. But that's one of the reasons I love her so much. Her flaws are what make her seem so real. But her worst moment is definitely when she thinks she's choosing Gale, lol.

[spectordameron]

to preface, this isn't the post to get into discourse about her story and parentage. If you dislike who Rey is as a character by the end of the trilogy, this isn't for you. Move on or be blocked.

One thing I love about Rey's parentage storyline, is how messy it is. Rey herself is an unreliable narrator when it comes to her family, because due to so much childhood trauma, her memories have been shattered and repressed so deeply that she isn't sure what is real and what isn't.

She spends the majority of her adult life trying to avoid the truth that she knows deep down: her family is never coming back. She was abandoned and left on her own, and now the scariest decision is in her hands: she must choose to let go of that comforting denial and embrace the truth so she can move on, so she can leave and heal, so she can make and choose her own family. That is what "the belonging you seek is not behind you, it is ahead" means.

In tlj, Rey is still reckoning with this. Her memories are still repressed, still unreliable. What she knows and has had to come to terms with was that her parents truly were never coming back, which leaves her with the "truth" she was shielding herself from all those years: that they sold her for drinking money, that they're dead and buried somewhere on Jakku. That the vague promise of a return was never going to be fulfilled: the fear of being abandoned, of the lie that Plutt believed and likely drilled into Rey as she grew up, became a fundamental truth to her subconscious that when Ben looked into her head, he believed it too.

By tros, we still see Rey's memories are foggy and messed up. They're incoherent, they don't make any sense, they're sometimes contradictory — all hallmarks of someone who was deeply traumatized as a child. That's how my memories work, how I bet many traumatized people's memories work.

And it leads right into my favorite thing about Rey's story: she's not the one to piece together her history, her loved ones are.

It's such a beautiful example of what the sequels stand for as a whole, the sense of community and interdependence: Rey has to confront these truths, as they become increasingly harder to chew on, but it is the ones she loves that slowly help her put her memories back together, to help her find the truth. Leia and Luke work out that she is Palpatine's granddaughter, Ben does a lot of the hard work and detective-ing to figure out how Palpatine's allegations fit into what he saw in Rey's head, and then Finn and Poe find the final piece in the puzzle the others miss by listening to D-0.

Rey is able to accept and let go of her past for the first time in her life, because she had people who loved her enough to help her find the truth, to help her make sense of her trauma. And I think that's my favorite thing about her story.

[schibborasso]

CeLLULAR SONGS is the second part of a trilogy of music-theater works created by Meredith Monk that explore our interdependent relationship with nature while seeking to evoke the ineffable.

[quotent-potables]

Confidence isn't about knowing you're right. Confidence is about knowing you can make it right.

— Rachela I, The Consuming Fire, book 2 of the Interdependency trilogy, by John Scalzi

[rabtbooktoursandpr]

Tour Kick Off: Untethered by Caroline S. Fairless #fiction #nowontour #rabtbooktours

Growing Up Girl, Book I   Fiction Date Published: September 10, 2024     In Growing Up Girl: Book One, a young Bernadette Aller floats through her life - job to job, lover to lover, place to place. She is an untethered spirit trying to find her way in a world that's not been too kind. Now, as she barrels toward her seventies, she wants to tell her story, not because it's hers alone, but because it's a surprisingly common story. It's a story much of which happens behind doors that display the word unspeakable. Bernadette hires Scully Trippe to ghost write, translating Bernadette's personal experience into the third person, in what might (or might not) be a misguided attempt to extend the story's reach. The time frame is malleable, with the storytelling moving back and forth through several stages of Bernadette's life. In this first book of the Growing Up Girl trilogy, BernadetteWorld is populated with Patience, her housekeeper; Maddie, a former lover and now a ghost; and Lucinda, a time traveler who drops in and out. It's a quirky group.   Cover artist is Matt Smith. The image of the five-year-old on the cover is Matt's mother whom he never met. In his own words, "Although I have no memory of her, I treasure the stories of Lynn's strength, stubbornness, and ferocious loyalty. My hope is to bring her from the muted mysterious shadows into the light with love." About the Author Caroline Fairless is a writer and a ceramic sculptor. She is a retreat facilitator with a focus on the interdependence and connectedness of every being, visible or not. She served several congregations as an ordained pastor for twenty-five years, publishing several books during that time. Now in her retirement, Caroline is writing fiction and learning new art forms. Over the past twenty years, Caroline and her partner Jim have been fortunate to stitch back together three land parcels that once were one. One of them borders on one of New Hampshire’s many small ponds. The other two border a marsh that hosts otters, beaver, herons, turtles, geese, ducks, and an occasional loon passing through. In the New Hampshire summers, Caroline gardens and walks the dogs she and Jim have rescued. New Hampshire winters will find her at her computer, still walking dogs, and camping in front of the wood stove.   Contact Links Website Youtube Facebook Instagram   Purchase Links Amazon B&N B-A-M January 7 - The Faerie Review - Spotlight January 8 - Texas Book Nook - Review January 9 - Momma Says to Read or Not to Read - Spotlight January 13 - A Life Through Books - Interview January 14 - Sapphyria's Books - Spotlight January 15 - Momma and Her Stories - Excerpt January 16 - Wine Cellar Library - Spotlight January 17 - The Avid Reader - Interview January 20 - Crossroad Reviews - Spotlight January 21 - Lisa's Everyday Reads - Spotlight January 22 - Book Junkiez - Excerpt January 23 - Novel News Network - Review January 27 - Girl With Pen - Spotlight January 28 - The Indie Express - Review January 29 - Matters That Count - Spotlight January 30 - Liliyana Shadowlyn - Spotlight January 31 - My Reading Addiction - Interview February 3 - My Bookmarked Reads - Spotlight February 4 - Nana's Book Reviews - Spotlight February 5 - On a Reading Bender - Review February 6 - Tea Time and Books - Spotlight February 7 - RABT Reviews - Wrap Up via https://ift.tt/vNLRFfo

[robacosta]

2024 Books - OLD MAN'S WAR and HUMAN TARGET

NEW BLOG:

OLD MAN’S WAR by John Scalzi “Part of what makes us human is what we mean to other people, and what people mean to us. I miss meaning something to someone, having that part of being human.” This is the fourth book by Scalzi I’ve read (the first three being his Interdependency Trilogy), but arguably his most famous. John Perry turned 75, visited his wife’s grave, then enlisted in the army. As…

[scp-1296]

HELL YES I DO

Basically anything by John Scalzi. I'd start with Old Man's War; it's probably your best bet if you're looking for a space drama series. The Interdependency trilogy is also really good. Also check out The Android's Dream, it's really funny but it knows when to take itself seriously.

The Expanse series is... a lot, but if you're looking for a heavy read that'll keep you busy for a long time, they're perfect.

The Long Way To a Small, Angry Planet might be a bit more cheerful than you're looking for, but it's phenomenal, and when it punches, it punches.

Also I know you said you were looking for space dramas, but I'm still plugging the Epic Failure trilogy because it's basically Monty Python in space and i love it so much

do you guys have any good sci-fi book recs

[roseunspindle]

March 2022 TBR

I’m 43% of the way along. ^_^

[queerian]

people who like this thing also like that other thing

i’m just going to make a list of Associated Books for Reasons

aka Books I Like Wot My Friends Who Also Like Books Like

imperial radch trilogy (and provenance and the raven tower) by ann leckie

the vorkosigan saga by lois mcmaster bujold

the murderbot diaries by martha wells

machineries of empire trilogy by yoon ha lee

the broken earth trilogy by nk jemisin

a memory called empire & a desolation called peace by arkady martine

the locked tomb (gideon the ninth, harrow the ninth, etc) by tamsyn muir

the interdependency series by john scalzi

the foreigner series by cj cherryh

the goblin emperor & witness for the dead by katherine addison

[ladytemeraire]

I personally treat sci-fi/fantasy as two flavors of the same spec fic overarching bucket/spectrum/[insert term here] for exactly this reason, both as a writer and as a reader, with space opera falling somewhere in the middle of the Venn diagram overlap of both of them.

And to your point about space opera: the example (that I've read most recently at least) that springs to mind for me is the Interdependency trilogy by John Scalzi, because you have very "hard science" concepts like interstellar trade routes and economic sabotage and tidally locked planets, but you also have The Flow (the in-universe answer to FTL travel) and the whole memory record thing - both of which may have an explanation given by the narrative but are still very firmly in the realm of fantasy for the moment. Obvs I don't have a direct line into Scalzi's writing process, but as a reader and a burgeoning writer I can very easily see this being more like writing fantasy than "strict" sci-fi (which is interesting since Scalzi's Old Man's War series is definitely very "hard" military sci-fi).

By contrast, I also just finished watching The Expanse, which I would argue and I think a lot of people would agree hits more of the hard sci-fi butttons; it pays a LOT of attention to things like conservation of momentum and pulling multiple G's and how bodies actually handle vacuums or low-oxygen environments and the time delay for interstellar (or intra-solar-system) communications, but then it also has shit like the protomolecule that's way more in line with fantasy. But because it starts with that "hard science" seed, it fits more smoothly into the sci-fi part of that Venn diagram than into fantasy.

tl;dr I feel like there's a lot of overlap and grey area for readers but this is really interesting to keep in mind from a writer standpoint!

My point about Star Wars as fantasy kept getting lost yesterday because I wasn't putting it plainly enough and I do think it's important.

I think of space opera as fantasy because it's not like WRITING sci fi, it's like writing a high fantasy setting like LOTR.

Speaking as someone who's written in all three genres. I think about space opera the way I think about high fantasy, when I'm thinking in depth about the worldbuilding at all (after all, one of my two major space operas is LOP, which I've said before runs on cartoon logic.)

People say they're not "smart enough" to write in sci fi and count space opera as if the Millennium Falcon weren't less grounded in reality than ents. Because yes, Treebeard is more realistic of a concept than the space jalopy the way Star Wars presents it.

When you're writing sci fi you're often trying to find a seed, at least, of some real world plausibility before you go rushing forward. Jurassic Park's exploration of cloning technology taken to a logical extreme, for example.

When you're writing a space opera like Star Wars the thing that usually matters is how YOU want it to work. Hyperspace is magic. The force is magic. Lightsabers.... Pretty much magic.

So when I'm talking about writing and I say that a space opera is fantasy I mean that you can just make the rules up yourself as you please.

And yes, as it's being pointed out to me by my housemate, you can HAVE a hard sci fi space opera, but honestly there's a reason it's rare.

I genuinely don't think anyone needs to be all that smart about science or math to write something approaching the harder sci fi end of the spectrum, but you don't need to know anything about science or math to write for Star Wars or anything like Star Wars.

Blasters and the Death Star don't care one bit about math, trust me.

[letsreadwomen]

books similar to The Expanse

im in a bit of reading slump at the moment and i believe my current rewatch of the expanse tv show may be a cause of this. it’s so good! and i can’t find books to scratch that same space opera itch! so when i came across an Esquire article about the expanse and its impact on the genre, i pulled out everything that was being name checked, and figured i might as well share them!

Standalones to dip into

To Be Taught, If Fortunate by Becky Chambers

Phoenix Extravagant or Beyond The Dragon’s Gate by Yoon Ha Lee

The Light Brigade by Kameron Hurley

The Prey Of Gods or The Hero Of Numbani by Nicky Drayden

Redshirts by John Scalzi

Series for the long haul

Chilling Effect by Valerie Valdes

Wayfarers by Becky Chambers

Imperial Radch by Ann Leckie

The Machineries Of Empire by Yoon Ha Lee

Teixcalaan by Arkady Martine

Bel Dame Apocrypha by Kameron Hurley

Escaping Exodus by Nicky Drayden

Tremontaine by (among many others) Karen Lord

Axiom by Tim Pratt

Old Man’s War or The Interdependency by John Scalzi

Binti by Nnedi Okorafor

The Memory War by Karen Osborne

The Bloodright Trilogy by Emily Skrutskie

Co-authored works

The Expanse by James S.A. Corey, d’uh

The Vela by Yoon Ha Lee, Becky Chambers, Rivers Solomon, and S.L. Huang

The Aurora Cycle by Amie Kaufman & Jay Kristoff

Books semi-randomly pulled from GR’s suggestions

Seven Devils by Laura Lam & Elizabeth May

The Black God’s Drum or Fatma El-Sha’arawi by P. Djeli Clark

The Murderbot Diaries by Martha Wells

An Unkindness Of Ghosts by Rivers Solomon

Better Worlds, edited by Laura Hudson

The Indranan War by K.B. Wagers

The Stars My Destination by Alfred Bester

Paradox by Rachel Bach

[featherwurm]

Ok so I wasn't going to get through The Inheratance Trilogy without designing some godlings of my own. I've tried to keep them in line with canon and the way in which gods/godlings work therin. These here are three major godlings of the ocean (who form a minor triad, because nature likes triads... and yes of COURSE it's ocean themed), in order from eldest to youngest;

The Plates "Ka" - With dominion over the tectonic plates their dual aspect comes from the differences seen in land and sea plates. Child of Enefa and Nahadoth. Has many godling children of earth, fire, and stone.

The Current "Ouro" - Dominion over currents both in water and air. Child of Nahadoth and Itempas. Parent of the Tides with Nahadoth.

The Chain "Persnā" - Dominion over life's dependence on the ocean (frequently misunderstood as a godling of the 'food chain' but it is far more complex than that - if anything their dominion is interdependence.) They take many, many forms. Child of Itempas and Enefa. No children.

These three godlings are all fairly old and constitute some of the most major of forces of the ocean and have interesting stories of their own - they all three survived the God's war and make their own way at present. They frequently collude with each other when something is troubling one of them. They are often seen with two other godlings known as The Storm and The Deep.

One more under the cut:

And here is Oruo's beloved child - The Tides or "Rahab" - An ephemeral creature with dominions over tides and as flighty as all children of the three and a godling can be. (I'm building this off of a godling that is only hand-wavingly alluded to in text.)

[quotent-potables]

"We're not immortal." Rachela reminded her. "But we get to live as long as we're useful. And that is a rare privilege."

— The Last Emperox, book 3 of the Interdependency trilogy, by John Scalzi